The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Pietro Maria Bardi lists four factors that should be considered as part of a complete overhaul that would make the Bienal de São Paulo comparable to the Biennale di Venezia: 1) Do not send an official invitation to the governments of the various countries involved; 2) Invite what he describes as “authentic artists;” 3) Replace the “large” works of art with others that are more compatible with the size of the particular exhibition rooms; 4) Abolish all prizes, since this is not a “horse race.”
Pietro Maria Bardi enumera quatro condições para reformar a Bienal de São Paulo de modo que esta possa se equiparar com a mostra de Veneza: 1. que não se faça convite aos governos; 2. que se convide os "autênticos artistas"; 3. que se substituam as obras de "formato grande" por outras compatíveis com as respectivas salas; e 4. que sejam abolidos todos os prêmios, por não se tratar de "corridas de cavalos".
This article was written by Pietro Maria Bardi (1900–99), the Italian curator and director of the MASP (Museu de Arte de São Paulo), the vast architectural landmark on the Avenida Paulista (Trianon) that was designed by his lifelong companion, the architect Lina Bo Bardi. The institution itself was founded in 1947, with management advice from Assis Chateaubriand, being Bardi its director for 45 years until failing health forced him into retirement (1992).
In this article Bardi, the art dealer and great collector, suggests that the São Paulo biennial should adopt the policies proposed by Antonio Fradeletto, who was the Secretary General of the Biennale di Venezia from its inception (1893) until 1919.
Bardi’s suggestion was ignored for many years, until the XVI Bienal de São Paulo introduced a new organizational structure focused on the role of the curator in 1981, when the professor and art critic Walter Zanini took charge of the international event [see doc. no. 1111044].
Marchand e grande colecionador da arte, Bardi afirma que a Bienal deveria implantar as idéias de Antonio Fradeletto, secretário geral da Bienal de Veneza desde 1893 até 1919. Pietro Maria Bardi (1900-1999) foi fundador, ao lado de Assis Chateaubriand, do Museu de Arte de São Paulo (MASP), criado em 1947, que dirigiu durante 45 anos, até se afastar por motivo de saúde.
e- Agremiações, Alianças, modelos de atuação e organização da cultura. Em apoio a arte moderna, dec 20, 30,40
m- Bienal de São Paulo